“Someone like Charles simply doesn’t make a story up”

Charles Enderlin is the French journalist responsible for the notorious Muhammad Al-Dura footage that ignited an orgy of mass murder by Palestinian Arab jihadists. The footage has been proven to be a hoax. But journalist Anne-Elisabeth Moutet finds that her journalistic colleagues are somewhat less enthusiastic about admitting a hoax when it exonerates the Israelis and the “extreme right.”

“L’Affaire Enderlin: Being a French journalist means never having to say you’re sorry,” by Anne-Elisabeth Moutet in the Weekly Standard, July 7:

[…] Having dug in his heels in time-honored fashion, Enderlin, a seasoned journalist and a French-Israeli dual national who’d spent most of his adult life at the same job, never imagined the al-Dura story would dog him. He was covered by his superiors in the hierarchy, affording him the Zen-like serenity achievable in large French organizations, which are profoundly top-down and basically unchanged in spirit since the court of the Sun King. His coverage of Israel and the Palestinian Authority, while regularly criticized by pro-Israeli groups, was highly esteemed by his peers. He had produced a well-informed documentary series on the Oslo Accords, the peace process, and the 2000 Camp David talks, tied to a book that has been published in English; and, while it could be argued that he was perhaps too close to some of his sources (several of the parties to the peace talks actually held discussions at the France 2 bureau, loaned by a helpful Enderlin as discreet neutral ground), this was a notable achievement. Such a person could not, in the order of things, be seriously threatened by a bunch of activists or scruffy bloggers behind their computer screens questioning his professional judgment. When he dismissed accusations of a cover-up by explaining that he had chosen “not to show the full footage of the child’s agony,” which would have been “unbearable,” he fully expected to be taken on trust.

Yet the bloggers and the activists refused to let the story die. In fact the unlikely alliance of, among others, a professor of medieval history from Boston University, a hot-headed former financial executive, and a former Le Monde reporter soon brought to light practices that would surprise no journalist with experience working in a totalitarian state. Most foreign correspondents covering the Palestinian territories from Israel rely on local stringers, cameramen, fixers. These Palestinian nationals do not benefit from the protections routinely granted international journalists. They and their families can be subjected to all sorts of pressures by a system not known for its respect for human rights and free speech niceties. The staging of scenes for the benefit of photographers is common.

The medieval history professor, Richard Landes, a soft-spoken American who spent his childhood in France and got his early education in a Paris public school, now one of the case’s most devoted parsers, coined a word for Palestinian manipulation of the media: “Pallywood.” He believes the whole al-Dura incident was staged. Using footage taken by other cameramen on the scene that day, he argues his case forcefully on two well-visited and regularly updated websites (theaugeanstables.com and seconddraft.org) as well as in countless articles and interviews.

Enter the hothead. Philippe Karsenty is a French Jew who felt so let down by the mainstream coverage of the second Intifada and the Middle East in general that he gave up a successful career in finance to start a media monitoring agency. His Media Ratings (web address m-r.fr) challenges the validity of press stories on all subjects with a test he dubs “the P.H.I.L.T.R.E method,” rating articles for “accuracy, consistency, independence, freedom, transparency, accountability, and exhaustiveness.” Karsenty took up the al-Dura case and started firing away at everyone he saw as responsible for perpetrating a dangerous lie.

Karsenty is a boyish character in his early 40s with rapid-fire delivery, a serious cell-phone habit, and an unflagging, self-appointed sense of mission. He makes enemies among his friends with as much gusto as he takes on the French establishment. (There is something of the neighborhood kid ringing all the doorbells on the block about him.) He has attacked various French Jewish leaders as well as France 2’s news director, Arlette Chabot; Enderlin; France 2’s chairman, Patrick de Carolis; and a slew of politicians. He routinely uses expressions such as “I will bury him!” and “I will end that conniving bastard’s career!” He is a bit mad, but it can be argued that many saints and heroes were a bit mad-if Joan of Arc had been happier in her Lorraine village, we Parisians might all be speaking English.

Karsenty is no saint, but it was his peculiar blend of bravado, doggedness, testosterone, and plain bad manners that eventually caused France 2 to blink. (I was reminded, meeting him, of the former New York senator Alfonse D’Amato, who gloried in his “Brooklyn Rottweiler” nickname and was turned loose by the Senate Banking Committee on Swiss banks that refused to reveal the number and balances of their Holocaust victims’ accounts. Until then, the Swiss had only been confronted with polite delegations headed by the suave likes of Paul Volcker, the former Fed chairman, and Stuart Eizenstat, the former undersecretary of state. They had gotten nowhere. D’Amato, taking no prisoners, unlocked the process in a couple of months.)

At any rate, two years ago, after one Karsenty op-ed too many about the “arrant hoax” of the al-Dura affair, France 2 sued him for libel. In a country where judges are civil servants, their first ruling surprised few observers: They ruled for the national institution, France 2, and ordered the outsider, Karsenty, to pay one euro in damages to the plaintiffs, a fine of 1,000 euros, and another 3,000 euros in costs. Even accounting for France’s relatively moderate legal rates, this was a slap on the wrist. Taking a gamble, Karsenty appealed.

Karsenty came to court loaded for bear, with trolleyfuls of documentation, including a 90-page ballistics report. Out of it all, the court also trained its sights on a telling 2005 Le Figaro opinion piece by two establishment journalists, Denis Jeambar, then editor in chief of L’Express (France’s answer to Newsweek), and Daniel Leconte, head of news documentaries at the state-run French-German cultural channel, Arte (a kind of French-German PBS), both unlikely participants in this undignified scrum. Jeambar and Leconte, egged on by a former Le Monde journalist, Luc Rosenzweig, who had taken a great interest in the case and started writing about it for the small Israeli news outfit Mena, asked France 2 as early as 2004 to show them the original raw rushes. Acknowledging Jeambar and Leconte’s weight in the French establishment, France 2 had done for them what it had refused to do for countless others and had shown them, and Rosenzweig, the 27 minutes of film.

What happened then was typical of the cat-on-a-hot-tin-roof behavior even powerful French figures display when faced with any kind of violation of the unspoken but well-understood order of precedence obtaining among the elite here. While Jeambar and Leconte took their time to ponder what they’d seen, Rosenzweig had the nerve to file a piece for Mena describing the tape’s scenes of staging just before the fatal shooting. You could see Palestinians being carried on stretchers into ambulances, then coming out again unharmed, all in a kind of carnival atmosphere, with kids throwing stones and making faces at the camera, despite what was supposed to be a tense situation. The tape showed occasional gunshots, not continuous firing. From the general horsing around captured on film by Abu Rahmeh, Mena concluded that the whole scene must have been staged.

Their being preempted by Rosenzweig incensed Leconte and Jeambar, who expressed their displeasure in the 2005 op-ed in the center-right Le Figaro. They spent so much of the piece denouncing Rosenzweig, his gall in reporting first on what he’d seen in the company of his betters, and the conclusions he’d dared draw independently, that it was easy to overlook a key fact: Jeambar and Leconte themselves not only conceded that the tape showed Palestinians stage-managing various shots and horsing around, they also described joking about those very scenes with the France 2 executives who were screening the tape for them.

All of those present at the screening-illustrious visitors and France 2 executives alike, the op-ed recounted-had ended up in full agreement that it was impossible to determine where the bullets had come from, but that it was highly unlikely that they could have come from the Israeli garrison. More crucially, Jeambar and Leconte also had caught Enderlin lying (or, as they kindly put it, “extrapolating”): “There was no ‘unbearable agony’ of the child anywhere on the tape,” they wrote. “It wasn’t edited out, it simply did not exist.”

The Figaro piece had little impact when it was published, but it turned out to be one of the crucial elements in Karsenty’s challenge to France 2’s version of events. He won his appeal. The ruling, handed down on May 21, stated that he had acted in good faith as a media commentator and that he had presented a “coherent body of evidence,” although the hoax could not be definitively proven. The judge also noted “inexplicable inconsistencies and contradictions in the explanations by Charles Enderlin,” whose appearance in court was his first sworn testimony in the matter.

You might think Enderlin’s professional standing would have been damaged by all this. You would be wrong. In less than a week, a petition was whipped up by his friends at Le Nouvel Observateur, France’s premier left-wing newsweekly. The petition conceded no gray areas, no hint of doubt. It called Karsenty’s vehemently argued but exhaustively documented stance a “seven-year hate-filled smear campaign” aimed at destroying Enderlin’s “professional dignity.” It flatly stated in the opening paragraph that Muhammad al-Dura was killed “by shots coming from the Israeli position.” It expressed rank astonishment at a legal ruling “granting equal credibility to a journalist renowned for his rigorous work, and to willful deniers ignorant of the local realities and with no journalistic experience.” It professed concern about a jurisprudence that would-shock! horror!-allow “anyone, in the name of good faith and of a supposed right to criticize and so-called freedom of speech, to smear with impunity the honor and the reputation of news professionals.”

Scanning the long list (to which new signatures are added daily at the Nouvel Obs website), I experienced a kind of life-flashing-before-my-eyes moment. There were the names of people from every magazine or newspaper I’d ever worked at; people I’d trained with; people I’d been great pals with before life packed us off in different directions; and people I’d last seen only the week before. It was, to tell the truth, Stepford-like scary.

I resolved to call as many of the familiar names as I could. I knew, or thought I knew, where these people came from. Why had they signed? It might be awkward to ask, I reasoned, but wasn’t it our business to ask questions?

As it turned out, it was plenty awkward. I came to recognize the moment when, after the “voice-from-your-past” greetings and the “where-are-you-now” fat-chewing and the nostalgic memories of past editors, colleagues, competitors, copy-takers (“all done by computer now, nobody to tell you you’re not making sense!”), I got around to the subject at hand. As I started explaining that I was writing a piece on the al-Dura affair and was wondering why they had signed the petition, I learned to recognize the telltale pause, the “Good Lord, she’s caught Scientology! She’s gone over to the crazies!” moment, after which the whole object of the exercise would become to hang up on me as fast as possible.

There were those, like a foreign editor at a liberal magazine with whom I’d spent boozy evenings bemoaning the failings of our respective boyfriends 25 years ago, who now brushed me off like an inconvenience. “Haven’t got time, too many pages to edit, staffer off sick, really, why do you ask such questions, have a catastrophic week, can’t really talk to you until . . . well, Friday, but you will have filed by Friday, right?”

“Oh, no, there’ll still be time on Friday.” (Palpable disappointment on the line.) I did call the following Friday-I only got past her voicemail by reprogramming my cell phone not to send out my caller ID-and got an angry hiss in answer to my greeting. “I’m in an interview, can’t talk, have nothing to say”-click.

There was the noted Paris-based former Washington Post foreign correspondent, 75-year-old Jon Randal, a Middle East expert I’d looked up to for years as a cub reporter, who trenchantly explained that he was seeing in all this a dangerous American trend of “vindictive pressure groups interfering with news organizations,” now unfortunately crossing the Atlantic. (Having lived in Paris for over 40 years, Jon had become alarmingly French.)

“Americans have been under the gun of such people for some time, but France used to be free of this kind of thing. [These groups] are paranoid, they’re persistent, they never give up, they sap the energy of good reporters. I can’t imagine how much money France 2 has spent defending this case. Charles Enderlin is an excellent journalist! I don’t care if it’s the Virgin Birth affair, I would tend to believe him. Someone like Charles simply doesn’t make a story up.”

But, I tried to interject, the absence of the boy’s “agony” from the tape?-

“Nonsense! Televisions don’t show extreme violence. You know that. Look, I don’t know what side you’re on in this?”

“I’m trying to make sense of it all.”

“I want you to call my friend at NPR, Loren Jenkins; call David Greenway at the Boston Globe; they’ll tell you about pressure groups.”

Popular Categories

Robert Spencer FaceBook Page

Robert Spencer Twitter

Robert Spencer YouTube Channel

Books by Robert Spencer

Jihad Watch® is a registered trademark of Robert Spencer in the United States and/or other countries - Site Developed and Managed by Free Speech Defense

Content copyright Jihad Watch, Jihad Watch claims no credit for any images posted on this site unless otherwise noted. Images on this blog are copyright to their respective owners. If there is an image appearing on this blog that belongs to you and you do not wish for it appear on this site, please E-mail with a link to said image and it will be promptly removed.